Lichings ad Engravings 
| the rollertion of the late 


Russell Sturgis 


S24 


Plart 1 


Che Anderson Art Galleries 
12 East 46th Sire 
New York 


No. 826—1910. 


THE COLLECTION 


OF 


Engravings and Ltrhings 


FORMED BY THE LATE 


Russell Sturgis 


TO ILLUSTRATE THE 


iistory of the Gwo Arts 


ETCHINGS by J. F. Miuurt, CAMILLE Corot, Josrer IsRAEts, 
J. L. E. Meissonrer, CuHartes Mreryon, REMBRANDT, 
GEORGE CRUIKSHANK, CHARLES Jacqusz, J. MoN. 
WuistLer, F. Srymour Hapen, FRran- 
cIsco GOYA, AND OTHERS. 


ENGRAVINGS By AxtsrecuHt Durer, H. 8S. Benam, Lucas 
VAN Lrypen, W. FarrHorne, W. Houiar, HocartH, DANIEL 
Hoprer, Hans BurGKMAIR, AND OTHER EARLY MASTERS. 
LITHOGRAPHS sy Rarret. MEZZOTINTS sy VAL- 
ENTINE GREEN AND SIMILAR ENGRAVERS. CHIAR- 
OSCURO ENGRAVINGS sky ANprREAS ANDREANT, 
NICOLAS DI VICENTIO, BArTOLOMEUS VCorRIO- 
LANUS, FANTUZZI DI TRENTO, AND OTHERS 
EQUALLY RARE. TURNER'S  Liper 
STUDIORUM, ETC. 


PART I. 

TO BE SOLD 
Monpay Eventne, Marcu 28 - - - Lors'§ 1—150 
TurspDAY EVENING, Marco 29 - - -  151—300 


SALE BEGINS EACH EVENING AT 8.15 O’CLOOK. 


On EXHIBITION FROM TUESDAY, Marcu 22, 10 A.M. To 5.30 P.M. 


GOhe Anderson Aurtion Company 


12 Kast 46TH STREET, 
New York. 


TeLEPHONE, Murray Hit 120. 


ART AND MISCELLANEOUS 


Conditions of Sale 


1. All bids to be PER LOT as numbered in the Catalogue. 


2. The highest bidder to be the buyer; in all cases of disputed 
bids the lot shall be resold, but the Auctioneer will use his judg- 
ment as to the good faith of all claims and his decision shall be 
final. He also reserves the right to reject any fractional or nominal 
bid which in his judgment may delay or injuriously affect the sale. 


3. Buyers to give their names and addresses and to make such 


cash payments on account as may be required, in default of which — 


the lots purchased to be immediately resold. 


4. The lots to be taken away at the buyer’s expense and risk 
within twenty-four hours from the conclusion of the sale, and the 
remainder of the purchase money to be absolutely paid on or before 
delivery, in default of which the Anderson Auction Company will 
not be responsible if the lot or lots be lost, stolen, damaged, or 
destroyed, but they will be left at the sole risk of the purchaser, 
and subject to storage charges. 


5. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of purchases, no lot will be delivered during the sale. 


6. All lots will be exposed for public exhibition two or more days 
before the date of sale, for examination by intending purchasers, 
and the Anderson Auction Company will not be responsible for the 
correctness of the description, authenticity, genuineness, or for any 
defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, without recourse. 
But upon receiving before the date of sale expert opinion in writing 
that any lot is not as represented, the Anderson Auction Company 
will use every effort to furnish proof to the contrary, and in default 
of such proof the lot will be sold subject to the declaration of the 
aforesaid expert, he being liable to the owner or owners thereof for 
damage or injury occasioned by such declaration. 


7. TERMS CASH. Upon failure to comply with the above con- 
ditions any sum deposited as part payment shall be forfeited, and 
all such lots as remain uncleared after twenty-four hours from the 
conclusion of the sale will be re-sold by either private or public 
sale at such time as the Anderson Auction Company shall deter- 
mine, without further notice, and if any deficiency arises from such 
re-sale it shall be made good by the defaulter at this sale, together 
with all the expenses incurred thereby. This condition shall be 
without prejudice to the right of the Anderson Auction Company to 
enforce the contract with the buyer, without such re-sale. 


8. The Anderson Auction Company will afford every facility for 
the employment of carriers and packers by the purchasers, but will 
not be responsible for any damage arising from the acts of such 
carriers and packers. 


ca) 


cr 


No. 826—1910. 


Che Russell Sturgis Collection 


American Etchings 


. AMERICAN ETCHINGS. 


A series of 10 small etched plates by the same artist, 
unidentified, signed with a mark resembling “A. T.” 
(10 pieces. ) 


BELLOWS (A. F.). 


M1ibhL AT OYSTER BAY. 


And 3 other landscapes near New York. 
Etchings. SIGNED proors ON DuToH PAPER. (4) 


BLUM (ROBERT). 


. THE HAG: Etching. 


Oid woman with pipe. 
SIGNED PROOF ON CHINA PAPER. 1879. 


BOECKLIN (A.). 


._. A SPRING DAY: Island of the Dead and “Herakles.” 


Tinted photogravures of his paintings. Large folio. (3) 


BONVIN (FRANCOIS). 


The etcher of a few plates of considerable merit. 


. PORTRAIT OF HIMSELF. 


Woodcut done in 1847. ‘Two proofs, one on India paper, 
mounted on the same sheet. 


BRACQUEMOND (FELIX). 1833. 


His portraits mostly done from lfe and his original etchings 
7 full of originality. 


. EDMOND DE GONCOURT. 


Etched portrait. 
‘One of 25 SIGNED PROOFS ON PARCHMENT. 


a 
o 


ores M 
Sty, if Pe 
Nir Wie elo oe 

Pte Se a ah 
Bias 2 Sate maa Sek 


- 11. THE COMMUNION. Etched by H. Hamilton. 


fb aD elit et : 

ay " fone oe ee 

N- A AR te, oye cer : 
ee ae Fhe Mp eh Be 


7. THEOPHILE GAUTIER. 
Etched portrait on India paper with the name. > spe 
“Teophile.” 3rd State. | 

Very RARE. Beraldi calls this “the beautiful | state 

the plate.” With the stamp of PHILLIPPE Burry. sé 


8. LE HAUT D’UN BATTANT DE PORTE. P 
With etched signature to right and the date 1865. “on 
THIN JAPAN PAPER. 


9. MOUTONS PARQUES, after Brendel. 
Etching from the collection of Pritirrr Burry with his 
stamp. ee 


aah 
A te 


BRENNAN (ALFRED). 


10. DISCORD. 
Painter etching, with stamped number “30.” 


BRETON. (JULES). 


Impression on Japan paper. 
Christ in the Temple, Litho after Menzel. 
Large folio. (2 pieces.) 


BRUNET-DEBAINES (A.). 


12. COURT OF ST. GERMAIN (?). 
Impression on soft Japan paper, with full snag 


Ch: 
13. HOTEL-DIEU, with remains of the Bridge St 
1872. 
Fine impression as aboye, with full margins, F 
RARE. 3 


HES ST. VIVIEN, Rouen. - 
Another Church at eee and two etchings ¢ on one 
(3 pieces.) ear 


15. ST. GERMAIN. 
Two SIGNED VIEWS ON cee PAPER; » i: cee 
4 additional etchings, including 3 proofs. (6 
7 tie 


BUHOT (FELIX). 
One of his three finest Paris ei 


16. LA PLACE PIGALLE EN 1878. au 
FINE ARTIST’S PROOF, with a portrait of E 
the remarques. Gi 


f 


S; * me 1 V * as v 
x , Poe fhe wee hd oa are 
7 : ihe Cen z : ) VEN . ‘ery J S — 


19. 


BURTY (PHILIPPE). 


Noted French art collector and critic. 


. BOOK PLATE OF PH. BURTY. 


From his own collection with his stamp. 


CHAMPOLLION CE. A.). 


. LE CHOIX DU MODELE. After Fortuny. Open letter 


proof. 


CHURCH (fF. S.). 


OLD HORSE CAR USED AS A CHICKEN HOUSE. 
Painter Etching. SIGNED PROOF ON INDIA PAPER (un- 
mounted) with uncut mergins. 


COCHIN (C. N.). 


. CEREMONIE DU MARIAGE DE LOUIS DAUPHIN 


AVEC MARIE THERESE, Feb. 23, 1745. 
Folio line engraving, showing the scene at Court with 
many figures. 


. SALLE DE SPECTACLE on the same occasion. 


Folio engraving within beautiful ornamental border. 


. BAL MASQUE on the oceasion of the Marriage. 


Fine impression. Folio. 


y BAL PARE. 


Given by the King on the same occasion, within orna- 
mental border. Folio. 


COLE (J. FOXCROFT). 


. SHEEP IN A COUNTRY LANE. 


Original proof. 4to. Large paper. 


COROT (CAMILLE). 


. SOUVENIR D’°ITALIE. 


A valley, four young trees to the right. 
Impression on Japan paper with untrimmed margins. 


. ENVIRONS DE ROME. 


Trees to the left, two crooked trunks to the right. 
Impression on Japan paper with full margins. 


. SOUVENIR DE TOSCANE. 


Corot’s first etching. He only made 14 plates. 


. ETCHED PORTRAIT, by H. Grenaud. 


5 


CRESWICK (THOMAS). 
Great English Sas | 


29. LANDSCAPE. | 
Original etching. INDIA PROOF BEFORE LUPTERS. 


DELACROIX (EUGENE). 
Painter, lithographer and PIER, 1798-1863. | 


she 


30. A WOMAN LYING DOWN SEEN FROM THE nace 
Printed on the same sheet with “A Man at Arms ee Le 
time of Francis [.” 


DETAILLE (EDOUARD). 


31, FRANCO-PRUSSIAN WAR. abe 

Défilé de Cavalerie and two scenes of the Battle of Reais 4 
hoffen. Goupirn Gravures on India Bb: pe 

foho. ( 3 pieces.) 


32. CHAMPIGNY (Detaille) ; Une Alerte (BetneBanlecnee ‘ 
and La Poste (Dupray). Goupil arenes on Ins a 
paper. Folio. (3) beds 


Perquisition <Gaacdet) Goupil gravures | on ohn 
paper. Large folio. * (3) 


EATON (WYATT). Stee - 

Rare etchings by this American painter, on fine hand-made pape 
34. TREES IN A MEADOW. | 
SIGNED TRIAL PROOF ON LARGE PAPER. 


35. PORTRAIT OF A MAN. 
SIGNED TRIAL PROOF ON LARGE PAPER. 


36. HEAD OF A WOMAN and a Burdock plant. Apa 
BOTH SIGNED TRIAL PROOFS ON LARGE PAPER. 


ETCHINGS 
37. PONT DE ees eee i Seana Wome 


ey 


38. CATHEDRAL DE ROUEN, Proof on i 
Jules Adeline; L’Espalier, Aquatint, sign 
proof : Max Klinger, on India paper. Fe 


x Fie is vi «fe " 
oo ‘J mabe A a yt 
So Sie er a 


40. 


41. 


42. 


43. 


44, 


46. 


4, 


48, 


PACIUS (G82) J.°G:): 


. VENUS ASLEEP, after Titian. Danae, after Titian. 


Stipple engravings. Folio. (2 pieces.) 


FARUFFINI (F.). 


CESAR BORGIA ET MACHIAVEL. 
Etching which took the prize at the Salon of 1866. “Gift 
from C. C. [Charles Courtry?], Dec. ’79” pencilled on 
margin. 


SACRIFICE TO THE NILE. 
‘Etching. Salon de 1867. 
Proof on large paper with the same pencilled inscription 
as above. 


FICQUET (ETIENNE). 


PORTRAITS OF VOLTAIRE, after De la Tour; and 
FENELON, after Vivien. Fine impressions with 
margins. (2) 


FLAMENG (LEOPOLD). 


PIERRE HEDOUIN. 
Father of the etcher. 
FINE PROOF FROM THE Burry COLLECTION SIGNED BY 
FLAMENG in ink, also with inscription “Avery March 
eo NU. ole. 


PORTRAIT OF GAVARNI. 
SIGNED PROOF ON INDIA PAPER. 
Inscription “Avery March ’78 No. 303.” (FROM THE 
Burty COLLECTION 7) 


. THE ELDER BURTY. 


Inscription “Avery March 1878 No. 95.” 
». POAVERY. 


Fine impression; the well-known Old New York Art 
Dealer, founder of the firm. 


ETCHED LANDSCAPE. 


Impression on India paper. 


FORTUNY (MARIANO). 


ANACHORETE. Proof on China paper before the clean- 
ing of the plate, and without printer’s or publisher’s 
name. [This and the following are all stamped auto- 
graphed proofs. | 


q 


a 
ae 


a sida! a lhe ge 


75. 


i. epee Chea ae 


. KABYLE MORT. China proof. 
. The Same. China proof. 


. MARECHAL-FERRANT AU MAROC. China proo!. A) 
. EGLISE §. JOSEPH A MADRID. China i “ 
. MEDITATION. China proof. 

. LA VICTOIRE. Proof on Dutch paper. 
. IDYLLE. Proof on Dutch paper. 

. ARABE ASSIS. China proof, before the clennene of ‘ 


»9. The Same. Proof on Dutch paper, the edges of the ¥ ] 


. PORTRAIT DE ZAMACOIS. China proof. ie 
_ GARDE DE LA CASBAH. Proof on Dutch paper.  __ 
_ UN DIPLOMATE. China proof. tae 

. TIREUSE DE CARTES. Proof on Dutch — : 2 

. TANGER, ARABES ASSIS. China proof. 
_ UN POUILLEUX. China proof. a 
. CHEVAL DU MAROC. China proof. ) 
. HOMME SE ROULANT A TERRE. China proo!. | 
. MENDIANT ACCROUPI. Proof on Dutch paper. a8 
_ UNE RUE DE SEVILLE. China proof. aie 
. DEUX CARDINAUX. China proof. 

. UN MASQUE. Proof on Dutch paper. dee 
. PORTRAIT DE VELASQUEZ. China proof. . 

. CROQUIS. DEUX ARABES. China ie . 
; LANDSCAPE. China proof, a. 


ing of the plate. 


plate. 


cleaned. (Without the signature.) Bie 


GAILLARD (FERDINAND). pee 
FEMME DU PEUPLE. 


arms. * hee 


GEDDES (ANDREW). 


Noted Scotch Painter. Executed only a few etchings, all of great merit, 


76 


rae 


78. 


id. 


80. 


ap AO 


82. 


83. 


84. 


85. 


86. 


but rarely met with. 


LORD JEFFREY. Second state (unfinished proof), from 
Philippe Burty’s collection, with stamp. 


COLONEL PHILLIPS. First state, with etched signature. 
From Philippe Burty’s collection with stamp. 


BARRINGTON BLACKFORD. In military uniform. 
Unfinished proof of the first state. From Philippe 
Burty’s collection with stamp. 


PORTRAIT OF A YOUNG MAN IN THE STYLE OF 
VAN DYCK. Proof. 


ALEXANDER NASMYTH. Unfinished proof of the first 
state. 


GIFFORD (R. SWAIN). 


LOW TIDE: A Beached Boat. 
Etching. India proof. Sm. folio. 


NONQUITT: Signed proof on China paper. HAY RICK: 
signed proof on the same. 8vo. (2) 


HERKOMER (HUBERT). 


PORTRAIT OF JOHN RUSKIN. 
Bust. Folio mezzotint. Artist’s signed remarque proof, 
No. 26, with the stamp of the Printseller’s Association. 
On Van Gelder paper. Full margins. 


HILL (J. HENRY). 


American Etcher and Painter. 


A WATER MILL. Signed proof ; A RAVINE WITH 
WATERFALL. Signed proof. (2) 
HOUBRAKEN (jJ.). 
ALBERT OF AUSTRIA. 8vo. PROOF BEFORE LETTERS; 
Anne of Cleves, after Holbein, sm. folio. (2) ; 
HUGO (VICTOR). 


RUINED CASTLE IN A STORM. 
Etching. 1868. 


9 


87. 


88. 


93. 


94. 


98. 


HURET (G.). 


LOUIS XIII. of France and Queen Anne kneeling before 
the Virgin and Child. Folio. 
Beautiful engraving; the scene in an arched Court look- 
ing out towards a fountain. 2 


ISRAELS (JOSEF). 


Painter, who etched a few plates of fishermen, ete. 


YOUNG DUTCH FISH GIRL WITH BASKET SEAT- 
ED ON THE SHORE. 


Proof before the plate was cleaned. 


. LA JUIVE. 


Proof on large paper. 


. HEAD OF AN OLD WOMAN. 


Proof on large paper. 


, HEAD OF A CHILD. 


Lightly etched. Proof before plate was cleaned. 


. INTERIOR: Baby in a cradle holding a spoon out to a dog 


seated on a chair. Lightly etched. Proor. 


JACQUE (CHARLES). 


CATTLE AND SHEEP IN A WOOD, ATTENDED BY 


TWO WOMEN. Drawn by Jacque, engraved on wood 
by Lavieille. A proof of the first state of the block, 
and a-China proof of the finished state. The first with 
the stamp Ne. (Charles Naumann?). (2) 


TITLE PAGE FOR THE “ALMANACH BOURGUI- 
GNON.” Woodcut. Proof before the date was cut. 
With collector’s stamp “Ne.” (Charles Naumann?). 


. THE WOLE’S DEN IN THE JARDIN DES PLANTES. 


1842. Dry-point. Proof on China paper. 


. LES CHANTEURS. Jacque’s only folio etching of figures. 


Printed by Delatre. 


. FONTAINEBLEAU, CERF SORTANT DE LA HAUTE 


FUTAIE. . ) 
Deer in Fontainebleau Forest. Proof etching on India 


paper, the above title pencilled in a hand which strong- 


ly resembles that of Jacque. With collector’s stamp. 


WOODCUTS, by Lavielle after Jacque. Le Chat Botté; and 
four prints of the Months May, July, etc. (5 pieces.) 
Each with collector’s stamp Ne. (Charles Naumann ?). 


10 


4 ” 
: 
+a 
ie, 


e , 4 ry 
: j Fe 
- =o ae “ i a : Der 
r lat eh ee ee ee ae ee ee 


JACQUE (LEON). 


Brother of Charles Jacque, born in 1828. 


99. VILLAGE LANDSCAPE. 


100. 


101. 
102: 
Pes 

103. 


104, 
105. 
106. 


U7. 
108. 
209. 


110. 


111. 
ae. 
113. 


114. 
115. 


Small folio etching. 


JACQUEMART (JULES). 


LES QUATRE ELEMENTS. Complete set of the four 
etchings, etched title and original wrappers also con- 
taining an etching. Oblong 4to. Paris, 1863 

Searce. The original issue with Cadart’s name on 
wrappers as printer. 

THE SORCERESS. After Franz Hals. Signed proof. 

HEAD OF A GIRL. After Greuze. Signed proof. 


LANDSCAPE WITH CATTLE. After Berghem. Signed 
proof. 


RUSTIC INTERIOR. After Willem Kalf. Signed proof. 
MARINE. After Van Goyen. Signed proof. 

HOLY FAMILY. After Jordaens. Signed proof. 
ELIZABETH OF VALOIS. After Sir Anthony More. 


Signed proof. (Now considered a portrait of a Ger- 
man Lady, by Strigel.) 


JACOB VAN VEEN. After Martin van Veen. Signed 
proof. 


PORTRAIT OF A DUTCH GENTLEMAN. After 
Adrian de Vrees. Signed proof. 


A: DUTCH BURGOMASTER. After Van der Helst. 
Signed proof. (Also etched title-page to the series.) 
Two pieces. 


ALEXANDRE DUMAS, FILS. Bust portrait after Car- 
peaux. Proof on parchment. — 


LE DEFILE DE NANCY (Parade of the Lorrainers be- 
fore the Empress Eugenie). After Meissonier. Proof. 


THE MINERVA OF BESANCON (from an ancient Ro- 
man Statue). Proof on Dutch paper, stamped “Col- 
Jection Lalanne.” 


TVECUREUIL ET LA MOUCHE. Proof before letters. 


LES FLEURS DE LA VIE; LES RONCES DE LA 
VIE. Early state before the titles. (2) 
i 


116. A SPANISH WOMAN WITH FAN; ETCHING FROM 
A PERSIAN MANUSCRIPT, proof on China paper; 
LE TOUR DE NESLE(?), proof before title. (3) 


117. PLAT D’URBINO; RELIURE DE MAIOLI;.MIROIR 
DU XVIe SIECLE. ANCIENT NECKLACE AND: 
JEWEL. (4) 


118. TAPIS XVle SIECLE; HALLEBARDES XVlIe 
SIECLE; SELLE POLONAISE; and another. (4) 


KRUELL (G.). 


119. PORTRAIT OF E.’L. GODRIA 
Woodcut on China paper sIGNED BY THE ARTIST. 


120. PORTRAIT OF- JOHN PETTIE, R. A. 
SIGNED woopcuT on China paper. 


LALANNE (MAXIME). 


121. 12 CROQUIS A L?EAU-FORTE. Paris: Cadart, 1869. 
Complete set of the etched title-page and twelve plates 
Original issue. 

Scarce in complete sets. Sometimes known as “Diver- 
tissements sur Cuivre.” ‘The series includes La: Seine 
a& Bezons, Dans un Parc, Une Rue a Barcelone, Dans 
le Port de Bordeaux, Le Pigeonnier, etc. This last 
mentioned plate is considered one of the most perfect 
of Lalanne’s smaller etchings, and the impression in ~ 
this set is exceptionally fine. All are proofs before 
titles, later issues having the titles etched in the blank 
spaces at the bottom of the plates. » 


122. [AN OLD FRENCH CHATEAU.] Signed proof. 8vo. 


123. CHATEAU DE CHAUMONT; A BASTION OF PARIS 
DURING THE SIEGE, Proof; PORT DE BOR- 
DEAUX. 


124. UNE RUE A BARCELONE. (4) 


L’EAU-FORTE EN 1874. 


125. L7EAU-FORTE EN 1874. 

30 Eaux-fortes, Originales et Inedites par 30 des Artistes 
les Plus Distingués. Texte par Ph. Burty. Folio, in 
the original cloth portfolio (worn). (One etching 
missing to complete the set.) Paris, 1874 

No. 38 of the limited Edition, the etchings India proofs. 
Among the artists whose etchings are included are 
Appian, Lalauze, Legros, De Gravesande, Lalanne, 
Detaille, ete. ; 


12 


ee ee ey a eee ee a ee eee EE re 


127. 


128. 


129. 


130. 
131. 
132. 


133. 


134. 


135. 


L’EAU-FORTE EN 1875. 


. VEAU-FORTE EN 1875. 


40 Haux-fortes. ‘Texte par Burty. Folio, in the orig- 
inal portfolio. Paris, 1875 

No. 42 of the Limited Edition, the etchings India proofs. 
A Complete Set. The etchers in this include De Neu- 
ville, Detaille, Roybet, Lalanne, Bracquemond, Legros, 
ete. 


LE DAVIS (EDOUARD). 


“MERRY ANDREW?” after Franz Hals, with his portrait 
in plain dress engraved on eopper on the same sheet. 
Folio, with small margin. 


LEFEBURE (JULES). 
Noted French Painter, executed only a few etchings. 


MADELEINE COUCHEE. Very early proof on Japan 
paper. Signed by the artist. 


LEGROS (ALPHONSE). 


GAMBETTA. Portrait of the French Statesman. 
Dry-point. Very fine impression. Scarce. 


S. JEROME. Proof with Philip Burty’s Stamp. 
HEAD OF AN OLD MAN. Folio. Proof. 


UN VIEIL ESPAGNOL. Japan Proof. VICTOR HUGO. 
Proof in the fourth state with collector’s stamp. (2) 


LEPAGE (JULES BASTIEN). 
French Painter who etched only 11 plates. 


RETOUR DES CHAMPS. 
Woman returning from the fields. 
Proof on Japan paper without signature. 


FAUCHEUR AIGUISANT SA FAUX. 
Reaper sharpening his scythe. 
Proof on Japan paper. 


LEWIS (J. F.). 


LION AND LIONESS; A LION’S HEAD. Drawn 
and etched by J. F. Lewis. 1824. (2) 
India proofs. Considered the masterpieces in etching of 
this noted painter. 


13 


136. SET OF TWELVE SPORTING SUBJECTS. Drawn 
and etched by J. I. Lewis. 1835-36. 
Scarce. The subjects include The Stable Door, The 
Cottage Door, Buck Shooting, Ppa Mare and 
Foal, A German Wild Boar, ete. 


MARSH (0. C.). 


137. 16 PLATES OF BUTTERFLIES, MOTHS, CATER- 
PILLARS, etc. All proofs, some on India paper. 


MEISSONIER (J. L. E.). 


138. POLICHINELLE. Etched by Meissonier himself. First 
state with the trace of an eye in the background. 
Fine impression on Large Paper. 

139. LE SERGENT RAPPORTEUR. Fine impression with 
“Tmp Salmon,” on Large Paper. 


MERYON (CHARLES). 


Etchings by this noted engraver, many in choice states, and some from 
the collection of Philippe Burty. Arranged and 
described according to Delteil. 


140. LA VACHE ET I7ANON. (D. 2.) Very fine India 
proof of the Second State. Plate destroyed. 
141. LA BREBIS ET LES DEUX AGNEAUX, and, 


PECHEURS DE LA MER DU SUD. The two on 
one sheet. (D. 8 and 15.) Second State. 


142. LE PAVILLON DE MADEMOISELLE ET UNE 
PARTIE DU LOUVRE. (D. 9.) Fine impression 
of the First Finished State on Old Paper. 


143. ENTREE DU FAUBOURG SAINT-MARCEAU, A 
PARIS. (D. 10.) Fine impression of the Second 
State. 


144. BATEAUX DE HARLEM A AMSTERDAM. “(D. 14.) 
Second of Four States. Fine India proof, unmounted. 


145, PECHEURS DE LA MER DU SUD. (D. 15.) Second 
State. 


146. TITLE (WRAPPER) OF THE “EAUX-FORTES SUR 
PARIS.” (D. 1%.) Light brown in color. The 
plate destroyed. 


147. THE SAME. Green in color. 


148. DEDICATION TO “REYNIER NOOMS, dit ZEEMAN.” 
; (D. 18.) Very fine impression in two colors on Large 
Paper. Plate destroyed. . Very Scarce in two colors. 


14 


ai et ee ee eee ee eee a 
A és, a 

——— Seed 

(th 2s . ; 


149. ANOTHER COPY of the same on small paper. Very 
fine impression in black. 


150. ANCIENNE PORTE DU PALAIS DE JUSTICE. (D. 
19.) Proof on China Paper of the Third State. Plate 
destroyed. 


SECOND SESSION « 


MERYON ( CHARLES) : 


151. ARMES SYMBOLIQUES DE LA VILLE DE PARIS. 
(D. 21.) Third State. 


152. LE PETIT PONT. (D. 24.) Fifth State (practically 
the First Finished State). Beautifully soft impres- 
sion on China Paper. From Philippe Burty’s col- 
lection with his stamp. 

One of Meryon’s Finest Plates. Of this state only 600 copies 
were issued, a very few being like this copy, specially 


printed on China paper. Written at the bottom—possibly 
by Burty—‘‘4 Etat, le Petit Pont a la pointe.” 


153. SAINT-ETIENNE-DU-MONT. (D. 30.) Fourth State 


(first with the initials “C. M.”). A beautiful clear 
printed impression on India Paper. From the 
Bouillard collection. Plate destroyed. 


154. FIFTH STATE OF THE SAME ON LARGE PAPER. 


155. LA PETITE POMPE. (D. 32.) Second (or Finished) 
State. Fine impression on Large Paper. From the 
Philippe Burty collection with his stamp. Plate 
destroyed. 


156. LE PONT AU CHANGE. (D. 34.) Eleventh State, 
with the balloons and Delatre’s name as printer. On 
China Paper. Plate destroyed. 


157. LLESPERANCE.. (D. 35.) Second State. Plate de- 
stroyed. 


158. TOMBEAU DE MOLIERE. (D. 40.) Second State on 
Large Paper. 


159. THE SAME. On Small Paper. 
160. TOURELLE DITE DE MARAT. (D. 41.) The Sixth 
of Ten States on Large Paper. Very fine impression. 


Meryon considered this his best work. He said it was the 
composition of heaven. 


15 


MERYON (CHARLES). 


161. 


162. 


168. 
164. 


165. 
166. 


COLLEGE HENRY IV. (D. 48.) Fourth State, with 
the sea, mountains, ships and sea monsters. 


THE SAME. UNDESCRIBED STATE, BETWEEN 
FIFTH AND SIXTH. ‘The sea, mountains, etc., 
erased and left blank. Unknown to Delteil. Very 
Rare. 


THE SAME. Seventh State. 


THE SAME. Eighth State. Proof on China Paper from 
Burty’s collection with his stamp. 
BAIN-FROID CHEVRIER. (D. 44.) Sixth State. 


LE PONT-AU-CHANGE VERS 1784. (D. 47.) Very 
fine impression of the Fourth State. Plate destroyed. 


. LA SALLE DES PAS-PERDUS. (D. 48.) Very fine 


impression of the Fourth State on Thick and Large 
Paper. The plate destroyed. 


. THE SAME. On slightly smaller paper. 
. RUE PIROUETTE AUX HALLES. =(D. 49.) Fine 


India proof of the Sixth State. 


_ LE GRAND CHATELET VERS 1780. (D. 52.) Third 


State. Plate destroyed. 


71. VUE DE LANCIEN LOUVRE DU COTE DE LA 


176. 


178. 


SEINE. (D. 53.) Sixth State. 


. LA RUE DES TOILES A BOURGES. (D. 55.) Sixth 


State. : 


ANCIENNE HABITATION A BOURGES. (D. 56.) 
Fifth State. Plate destroyed. 


. CHATEAU DE CHENONCEAU. (The second plate. 


D. 58.) Second of Three States. 


. CHEVET DE ST. MARTIN-SUR-RENELLE. (D. 60.) 


Third State. From Philippe Burty’s collection with 
stamp. 


PLAN DU COMBAT DE SINOPE. (D. 62.) Proof, 
unknown to Delteil, in which the Compass needle has 
neither Point nor Feathers, and crosses the scale. 
Plate destroyed. 


. THE SAME. First State, in which Meryon has per- 


sonally erased the wrong pointing initial of the needle, 
and correctly written “N” at the other end. 


COVERS OF THE “VOYAGE A LA*® NOUVELLE 
ZELANDE.” (D. 63.) With etched design. Fourth 
State printed in blue. 


16 


+ 


MERYON (CHARLES). 


179, 


180. 


193. 


194. 


EOD: 


LE PILOTE DE TONGA. (D. 64.) Second State, 
printed in red and black. Plate destroyed. 


TETE DE CHIEN DE LA NOUVELLE-HOLLANDE. 
(D. 65.) Second State. Proof on China Paper. Plate 
destroyed. 


. LE MALINGRE CRYPTOGAME. (D. 66.) Second of 


Four States. Proof printed on greenish paper. Plate 
destroyed. 


. THE SAME. Fourth State on Large Paper. 
_ NOUVELLE CALEDONIE. GRAND CASE_IN- 


DIGENE. (D. 67.) Fourth, or First Lettered State. 


. OCEANIE: PECHE AUX PALMES. (D. 68.) Fourth, 


or First Lettered State. Plate destroyed. 


. PRESQU’ ILE DE BANKS—POINT DITE DES CHAR- 


BONNIERS. (D. 69.) Fifth State. 


. GRENIERS INDIGENES A AKAROA. (D. 70.) 


Fourth, or First Lettered State. 


. ETAT DE LA PETITE COLONIE FRANCAISE 


D’PAKAROA. (D. 71.) Fifth State. 


. SAN FRANCISCO. (D. 73.) Fine impression of the 


Fourth State. With pencil note that it was bought 
in 1875. 


. PRO VOLANT DES ILES MULGRAVES. (D. 74.) 


Fourth State reading “Rebus.” 


. PORTRAIT DE CASIMIR LE CONTE. (D. 77.) Fine 


impression on Dutch paper. 


. THE SAME. On thick paper. 
. RENE DE BURDIGALE, Sr. DE LAUDONNIERE. 


(D. 80.) Fourth State. Fine impression. 


A portrait of the famous founder of the Huguenot Colony in 
Florida. Engraved after the rare portrait by Crispin de 
Pass. 


PIERRE NIVELLE. (D. 81.) Fifth, or First Lettered 
State. Proof on China Paper from Philippe Burty’s 
Collection with his stamp. 


BIZEUL (LOUIS JACQUES MARIE). (D. 83.) Fifth 
State. 


BENJAMIN FILLON. (D. 85.) Fifth State on Large 
Paper. 
17 


MERYON (CHARLES). 


196. 


Leis 


198. 


199: 


209. 
210. 


PROJET D’ENCADREMENT POUR LE PORTRAIT 
D’ARMAND GUERARD. (D. 95.) The Fourth State 
of Nine. 

(A lynx curls round the “Code Lois.”) ' 

PORTRAIT D’ARMAND GUERARD. (D. 86.) Sec- 


ond State. Plate destroyed. From the Hirsch col- 
lection with stamp. 


ADRESSE DE ROCHOUX. (D. 87.) Fourth State, 
printed in red and black. Very fine impression. 


PRESENTATION DU VALERE MAXIME AU ROI 
LOUIS XI. (D. 94.) arly impression of the Fourth 
State. 


. FRONTISPIECE POUR LE CATALOGUE DE TH. DE 


LEU. (D. 96.) Sixth State, the First with Letters. 
Fine impression on Large Paper. 


. REBUS. (La Vendetta.) (D. 100.) Second State. Plate 


destroyed. 


2. ANOTHER COPY OF THE SAME. 
. ANOTHER COPY, BUT PRINTED ON ia 


PAPER. 


. REBUS. (Beranger ne fut véritablement fort, ete.) (D. 


101.) Third State. Plate destroyed. 


. REBUS. (Non! Morny n’est pas mort, ete.) (D. 102.) 


Second of Three States. Plate destroyed. 


. CHARLES MERYON PAR F. BRACQUEMOND. (D. 


17-A.) Third State from the Burty and Hirsch col- 
lections. Portrait as an ancient sculpture. 


. CHARLES MERYON PARF. BRACQUEMOND. Three- 


quarter length seated. Amand-Durand reproduction. 

Ten proofs only were taken from the original plate when 
Meryon destroyed it, and this is the only state in which it 
is obtainable. 


. CHARLES MERYON MAD AT CHARENTON. Helio- . 


gravure after Leopold Flameng. Lettered Proof on 
parchment. From Philippe Burty’s collection with 
his stamp. 


THE SAME. Proof before letters on plate paper. 


PORTRAIT OF EDME C. SAINT-MARCEL. Unfin- 
ished proof. 

Erroneously attributed to Charles Meryon, and no doubt 
by the painter himself. ‘Two different etchings of this 
portrait were executed, one showing the painter look- 
ing a little to the left. This represents him looking 
straight to the front. 


18 


211. 


r12. 


213. 
214. 


215. 


R17. 


218. 


pid. 


220. 


MILLET (JEAN FRANCOIS). 


LYHOMME APPUYAT SUR SON BECHE. (D. 3.) 
Etching known as “Labor.” Plate destroyed. On thin 
Japan paper. 


FEMME VIDANT UN SEAU. (D. 32.) 
Woman emptying a bucket, woodcut by Pierre Millet 
after a drawing by J. E. “Millet. 
THE RARE ORIGINAL NOT TO BE CONFOUNDED WITH THE 
COPIES WITH THE TITLE IN REVERSE OR THE INI- 
TIALS ONLY. 


FEMME VIDANT UN SEAU. The same on toned paper. 


FEMME VIDANT UN SEAU. The same. An impres- 
sion on buff paper with collector’s stamp. 


OU DONC EST-IL? (Delteil 21.) 

ORIGINAL LITHOGRAPH for a Music Sheet, and one of 
only two vignettes drawn on stone by Millet in his 
early youth. On China paper. 

The reduced facsimile of the FIRST STATE BEFORE LET- 
TERS, of which only one proof was known to LeBrun, 
is said to be in America, and which Burty reports was 
sought for by Millet for many years before his death 
owing to his desire to see it again. Only three or four 
trial proofs were made of the second state (with letters) 
which are now in the Curtis, Gerbeau and Vanderbilt 
Collections. The drawing was executed in compliance 
with an order, and when submitted to the Publisher, 
he refused either to return or pay for it. 


5. LE SEMEUR. (D. 22 


Lithograph of “The Sower” by Bouvier after Millet, 
printed by Bertauts. 


LA GRANDE BERGERE ASSISE. (D. 33.) 
Second State with the sky. Woodcut by J. B. Millet 
after J. F. Millet. 4to. 


BECHEUR AU REPOS. (D. 34.) 

Woodcut by Pierre Millet after a drawing by J. F. Millet. 

1874. On toned paper. 
"FOUR TIMES A DAY.” 

“Morning,” “Noon,” “Evening” and “Night,” a series 
of 4 woodcuts by A. Lavielle after Millet. RareLy 
FOUND COMPLETE. 

“THE WORK OF THE FIELDS.” 

A series of 10 woodcuts by Lavielle after Millet: Woman 
shearing, spinning, raking, pulling and crushing 
flax; a Man mowing, binding, threshing, reaping and 
making faggots. 

RARELY FOUND COMPLETE. 

19 


Modern Colored Prints 


In the colors of the originals, and with the approval of the painter 


RRR. 


220. 


226. 


228. 


cos) 
eo 
Ne} 


expressed by signature. 


BROUET (A,). 


+ HVENING, A CEPY. 
Sm. folio, signed by the artist. 


VON ENDE (HANS). 


WORPSWEDE. Cottage and trees on a stream. Colored 
etching in blue tones. Sr@nep. Sm. folio. 


OSTERLIND (ANNE). 


. LE BEAU SOIR. Autumn. 
StaNeD by the painter. Folio. 


HAUDARD (CHARLES). 


. AU BOIS. (Swans in a Stream.) 
No. 46 of 50 stanep proors marked “Unpublished.” 


GRAF (O.). 
DACHAU BY MOONLIGHT. Folio. 


GREENOUGH (E. K.). 


VIEW OF THE MEADOWS. 
Colored Lithograph. Signed. 


LORRAIN (ROBERT). 


. THE BATHERS. 
No. 46 of 50 siGNepD proors. Folio. 


MARCHETTI (G.). 


IN THE PARK. 
SIGNED BY THE ARTIST. Folio. 


MOTTA. 


. A SWOLLEN STREAM. Folio. 
Signed facsimile of a Crayon Drawing. 


20 


=. Fe oe 


i 


280. 


233. 


234, 


238. 


240. 


TROWBRIDGE (V.). 


MOONLIGHT, COTES DU NORD. 
Colored etching, siaénep By Trowspripce. Sm. folio. 


MORAN (THOMAS). 


. LANDSCAPE: Etching. SigNep PROOF ON CHINA 


PAPER. 


. YELLOWSTONE RIVER and KURATO, a Ute Girl. 


SIGNED PROOF ON CHINA PAPER. (2) 


MOREAU LE JEUNE. 
CORONATION OF LOUIS XVI. Magnificent folio en- 
graving showing many figures. 


CELEBRATION OF THE BIRTH OF THE 
Deu PHIN, Jan. 21, 1782. 
Arrival of the Queen at the Hotel de Ville in the midst 
of an immense crowd. Folio engraving. 


Portraits. 


. LONGFELLOW (HENRY W.). Lithograph issued by 


Houghton, Mifflin and Company. Bust, life size, 1875. 
Woodeut portrait: of Bismarck on India paper. (2) 


RAJON (PAUL). 


. UN AMOUR PLATONIQUE. Fine original impression 


with large margins. 


. PORTRAIT DE FELIX BRACQUEMOND; POR- 


TRAIT DE SULLY PRUDHOMME. InpIiA PrRoor. 
(2) | 

PORTRAIT DE BARBEY D’AUREVILLY. Proof 5 
PORTRAIT DE IVAN TOURGUENEFF. Proor. 
Scarce. (2) 


REMBRANDT. 


. THE CIRCUMCISION. BI. 20. B. 37. Fine impression 


of the First State. 


THE DESCENT FROM THE CROSS BY TORCH 
LIGHT. Bl. 58. B. 83. Very fine impression with 
margin of the only state. From the Wilhelm Koller, 
Gawet and Held collections. . 

21 


. JESUS DISPUTING WITH THE DOCTORS. BI. 35. 


B. 64. Very fine impression with margin. 


. ST. JEROME KNEELING. Bl. 73. B. 102. Late, but 


fairly good impression with margin. 


. THE COTTAGE WITH A LARGE TREE. Bl 326. 


B. 226. Good impression of a very rare etching of 
Rembrandt. From the Drugulin and other collections. 


. MANASSEH-BEN-ISRAEL. BI. 183. B. 269. Good 


impression from the Koller and Daffinger collections. 


. JOHANNES WTENBOGARDUS. Bl 190) Bee2ie, 


Very good impression of the Third State. 


. OLD MAN WITH A LARGE HAT, SLEEPING. BL 


286. B. 290. Very fine impression. 


. THREE HEADS OF WOMEN, ONE SLEEPING. Bl. 


251. B. 368. Good impression. 


. THE BURGOMASTER SIX. Copy. 
. THE LARGE DESCENT FROM THE CROSS. Copy. 


ROCHEBRUN’S (A. de) CHATEAUX DE FRANCE. 


250. 


aol. 


255. 


LE LOUVRE, FACADE DE HENRI Il. 
Showing the foundations of the Old Louvre discovered 
in 1866. Folio. 
This and the following are the fine folio architectural 
etchings of the Chateaux of France printed by Beillet. 


STRASBOURG CATHEDRAL. 7 
During the Bombardment. Within engraved allegorical 
borders. A very handsome print. 


. CHATEAU DE BLOIS. 


The Interior Court and the Staircase of Francis I. Two 
folio prints. 


. CHATEAU DE CHAMBORD. 


Eastern Side, Staircase and detail of Towers. Folio en- 
eravings. (3) 


. CHATEAU DE PIERREFONDS. 


Exterior and View of the Donjon. Viollet-le-Duc, 
Architect. Folio. (2 pieces.) | 


ECOUEN and Two Views of Chateau Wa ei 
Folio. (3 pieces.) 


99 


od 


206. 


eOT. 


ras) 
Or 
(0/0) 


259. 


260. 


261. 


262. 


ROUSSEAU (THEODORE). 


. Distinguished French Painter of the Barbizon School. 


CHENES DE ROCHE. 1861. 


An unfinished proof of the earliest state before its pub- 
lication. Rousseau etched but few plates, and those 
more as experiments than anything else. 


ROYBET (FERDINAND). 


Distinguished French Painter. 


EN RETARD POUR LA FETE (Les Saltimbanques). 
Proof before letters. 


SANDIER (A.). 


‘French etcher. 


. PORTRAIT IN THE MANNER OF REMBRANDT; 


PAYSAGE; EGLISE A MONTMARTRE, etc. 
Proofs. (7) | 


SLOAN (JOHN). 


TURNING OUT THE LIGHT. 
SIGNED PROOF ETCHING. 


SMILLIE (G. JFeC.), 


McKINLEY (WILLIAM). Portrait; bust. 
SIGNED INDIA PROOF. Sm. folio. 


SMILLIE (JAMES D.). 


THE FARM LANE. 
Signed proof on China paper, marked No. I. 


STOTHARD (THOMAS). 


JOHN GILPIIN, engraved by Worthington. 
Obl. folio, opEN LETTER PROOF. Lond. Pickering, 1825. 


STRUTT: (ee) 


. SCENE IN MARLBOROUGH FOREST; NEAR 


STONELEIGH, WARWICKSHIRE; GROUP OF 
ABELES, BANKS OF THE-THAMES. Folio. 
1828. (3) : 

Strutt: was noted for his representation of woodland 
scenery. ‘These are excellent examples. 


23 


THOMAS (PERCY). 


264. LONDON BRIDGE. Proof on China paper. Signed- 
Very rich impression. 


265. BRIGHTON. Proof on thin Japan paper. 


TISSOM G1. fy; 


266. DORMEUSE. Signed Trial Proof. With collector’s. 
stamp. (The date etched on the plate is 1860, while 
Tissot only commenced etching about 1875.) 


TURNER’S LIBER STUDIORUM 


The following selection of thirty-three plates from the Liber Stu- 
diorum form a representative collection of this Monument of Art. The 
Pastoral, Mountainous, Architectural and Historical—the distinctions. 
so made by the painter are included, and the majority are specially 
rich impressions.. Equally interesting are the unpublished plates— 
plates on which Turner had been working, but which were left un- 
finished at his death, only in 1873 a few impressions being taken from 
them. Turner himself etched the outlines of the “Liber” and in the 
process of taking proofs put additional work on the plates where he — 
thought it advisable, and even in a few cases performed the mechanical 
process of the mezzotinting, though this was mainly. done by Charles 
Turner and a few others. The finished or published states, therefore 
—and not trial proofs or first states—are really those that express 
Turner’s ideals, and naturally should appeal the most to admirers of 
the painter; as in this respect they are unique in engraving, becoming 
almost paintings on copper. It is scarcely necessary to mention their 
rarity, their value having increased in a phenomenal manner. It is on 
record that Charles Turner used fine proofs to light his house fires. ~ 
To-day these are unobtainable at $500 or more each. The early pub- 
lished states have likewise become exceedingly rare, and few collections. 
have as many as are noted in the following numbers. 


267. EGREMONT SEA PIECE. (Ships in a Breeze.) R. 10. 
Fourth State. . 


268. PENBURY MILL, KENT. Very fine impression of the 
Third State with added mezzotint. 


269. DUN(S)TANBOROUGH CASTLE. First Published 
State, marked “Proof.” (A variation of the first pub- 
lished state, having the initial letter large and open, 
and reading in the title “a Picture’ instead of “the 
Picture,” and with the size “3 by 4” added.) 


270. THE FARM-YARD. Published State. Good impression. 


271. MORPETH NORTH. Fine impression of the Second 
State. (This plate was praised by Ruskin.) 


272. JUVENILE TRICKS.. Third State. 
24 


if ae 
2 ~ . 
ol totes 2 
** oe ’ 
ait a 
fa Fs > 
4  — i i ve 
y iy Oe c 
ae We ean kt ar . t m 


at 


273. 


25%. 
288. 


289. 
# 291. 


292. 
293. 


THE HINDOO WORSHIPPER. Good impression of the 
Fourth State. (Considered one of his best plates for 
the landscape and treatment of the trees.. The third 
and fourth states were altered from sunset effect to 
sunrise. ) 


. HIND HEAD HILL. Fifth State. Good impression. 


(The fourth and fifth states give more sunrise effect.) 


. WINDMILL AND LOCK. Third State. Very good im- 


pression. 


. YOUNG ANGLERS. Third State. 
. ST. CATHERINE’S HILL NEAR GUILFORD. Fine 


impression of the Third State. 


. MARTELLO TOWERS NEAR BEXHILL, SUSSEX. 


Third State. 


. FROM SPENSER’S FAIRY QUEEN. Third State. 
. THE BRIDGE AND GOATS. Fourth State. (The 


brightness of the sun added to by Turner in this state.) 


_ PEAT BOG, SCOTLAND. Fine impression of the Fourth 


or Fifth State. 


. RISPAH. Fourth State. 

. HEDGING AND DITCHING. Fourth State. 

. RIVER WYE. Fifth State. 

. RIVAUX ABBEY. Fourth State. 

. SOLITUDE (or THE READING MAGDALEN). Fourth 


State. Good impression. (“Early impressions of this 
state are better than the Second or Third States.’’) 


BONNEVILLE, SAVOY. Second State. 


EAST GATE, WINCHELSEA, SUSSH#X. Fourth 
State. Good impression. 


INTERIOR OF A CHURCH. Fourth State. (Hngraved 
entirely by Turner.) 


CHRIST AND THE WOMAN OF SAMARIA. Second 
or Third State. 


DAYBREAK.AT STONEHENGE. Unpublished plate, 
engraved apparently entirely by Turner. 


THE FELUCCA. Unpublished plate. On India Paper. 


THE DELUGE. Unpublished plate. Engraved probably 
entirely by Turner. 


25 


294, 


290. 


300. 


UNPUBLISHED PLATE. Dawn breaking over a wide 
expanse of sea. A very beautiful plate printed entirely 
in gray. Pure mezzotint. ? 

UNPUBLISHED PLATE. Thunder storm at sea, a 
barque and a small sailing boat can be seen. Pure 
mezzotint. 


. UNPUBLISHED PLATE. A deep rocky gorge through 


which a river winds, the moon breaking through clouds, 
a barge with sail in the foreground, on the right bank 
three lighted windows of a house can be seen. (View 
on the Rhine?) Pure mezzotint. With scratched sig- 
nature J. M. W. Turner. 


. UNPUBLISHED PLATE. (Venice from the Sea?) 


Pure mezzotint. With autograph note by F. Seymour 
Haden, “Printed by F. Seymour Haden from plate 
from Turner’s House before the Sale.” 

The buildings seen in the distance resemble those of 
Venice, including S. Maria della Salute, but on the 
left is a mass that seems to be a volcano. 


. —— Another copy of the same without the inscription. 


. IMPRESSION from a Steel Plate found in Turner’s 


house. (Inscription apparently written by F. Sey- 
mour Haden.) 


UNGER (WM.) And Others. 


CATHERINE CORNARO: etching after Makart. Proof. 
Entry of Charles V. into Anvers by Lalauze; The 
Bird’s Nest, lithograph after Jules Breton, by la- 
salle. Folio. (3) 


<fgaacGoldmam, 
pian 
“NEw Yor! 


SSS SOSH HSHO HOP SSHSSHSOHHSHOOLHHH SHOT SHHHOSHHHOHSHHSEHHSHOSAGOHHHHDOHOHSOHHTOSHS HE DO SOHO HTESHOLSESEHHESSHSHHOHHOSOO HOHE RHHOSOOEOHRNESH SE SEO EOOHLHO SEE: 


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